Secretary's Chant

The most effective poems convey the poet’s idea and influence the Reader’s Response. This is certainly true when considering the poetry of John Foulcher is a contemporary Australian poet who writes about his observation of everyday life, people and places, as well as religious history. The poet’s voice is distinctive and he writes in a condensed style where each word and image is very important and has layers of meaning. He also often uses very harsh and violent imagery in his poems, which can be very shocking to the reader. Foulcher uses a range of techniques in his poems to communicate meaning, including similes, metaphors, personification and onomatopoeia. The poems that will be discussed in this essay are Martin and the Hand Grenade

            One of the main aspects of the feminist movement is breaking away from society’s limits and expectations. Before Edna could break free, she first had to experience an awakening. In her awakening, she had to realize the role of women in the universe, the role that society created for women, “…beginning to realize her position in the universe as a human being…” (Chopin 17).

Claudia Rankine’s Citizen contains a number of intricate images usually following a story within a section of the lyric. Using the context of the story, one is able to perceive his or her own meaning for why the image was included. The images provoke thought and emotion in many different ways. While an image may seem sad to some, others may decipher a positive or progressive view of their own. The true beauty of these images alongside their text is that they will bring forth a unique response from each and every reader.

Each part was broken up after a noticeable shift and atmospheric changes in the poem. The first part of the poem is during “Sad is the man...with one”(Ln 1-2), and repeats again at “In a room...on his father”(Ln 6-9). These lines create a shift into a narrative stage. It puts a pause on the poem to introduce or explain the scene in the poem. The narrative is important because it shows the point of view of the poem. The second shift is created with “Already the man...should never disappoint”(Ln 10-18). This shift is when the father is thinking about his fears and desires, to be more blunt, the father’s fantasies. It creates an unrealistic tone to the poem an shows the father’s dismay when he cannot remember a story for his son. The last shift begins with “His five-year-old...scratches his ear”(Ln 3-5), and ends with “But the boy...up to silence”(Ln 19-23). This shift bring the poem into reality. In fact the poem states that the “emotional rather than logical equation”(Ln 20) is where most people get confused and frustrated at the world. The poem also states the conflict of fantasy and reality. This conflict is what creates the the multiple shifts and the complicated relationship between the father and the

Once I was able to associate these words to emotions and issues present in everyday life, the poem started to make me feel sad. I began thinking about all of the emotions and feelings that everyone hides as they go about life. For example, how the waitress I see once a week may have an eating disorder, or how the singer I look up to just lost her son, or the businessman who got laid off today. Everyone has their own personal battle that they carry everywhere, at any given moment. This explains why the setting is so plain, since the internal struggles people face affect them even at a bus stop. While each person waits, the waitress may be thinking about how much skinnier the person next to her is. The singer could be remembering when she held her baby. And the business man could be planning how to break the news to his wife. No matter how small, everyone experiences a type of trauma or bad experience, and this poem seemed to show what happens when these emotions become bottled up. No one can help each other because they are so stuck within their own issues. The difficulty helping others reminded me of the idea of having to take care of yourself before being able to take care of others.

War is a dreadful way to solve an issue and it affects everyone. This paper discusses poems by Wilfred Owen, John McCrae, and ee cummings. The poems names are “Dulce Et Decorum Est”, “In Flanders Fields” and “I sing of Olaf glad and big”. The purpose of this paper is how war can ruin people's lives.

The work of prominent feminist writer Edna St. Vincent Millay continues to hold value in the educational space, illustrating a sense of humanity and fragility through her verse. In nineteen twenty-three, she published her Italian sonnet “I will put Chaos into fourteen lines,” a powerful work that showcased her ability to command language. Millay’s sonnet chronicles her experience of pitting Chaos into that confining structure of an Italian sonnet, making the figurative cacophony mingle with Order. The sonnet emphasizes the importance of creativity through the form of chaos interacting with the limiting structure and confines of rules and limitations represented by order. I can prove this assertion through Millay’s use of personification, Italian sonnet stanza structure, and meter iambic pentameter.

Throughout the course we have learned how to read and interpret poetry with a better understanding of the mechanics that power the poem. Tone, pace, rhyme scheme, theme, and other various components within a poem develop an understanding of the work allowing for critical analysis. By reading poetry comprehending its various nuances and being able to reflect on the period of which it is written, provides a view into the past. Using culture, economics, and race are all factors that influence the writer and may even be the theme of the poem. A poem that had caught my eye recently, All-American Sestina although written in 1940, contains some of the issues that we are faced with today. It will be intriguing to consider the past before the united states entered world war two and examine how the author perceived the country at the time and how these matters have shaped over the course of 77 years.

The next poetry example is “The Room of My Life” written by Anne Sexton yet again another poem that is filled with imagery, which is one of Anne Sexton’s trademarks. In this poem common household objects are used such as a typewriter, an ash tray, a knife etc. This is so the reader can visualize her living circumstances and also bring to life the objects meaning to her. Each one of these items has a special importance in Sexton’s daily life because after all she is representing the room of her life. The typewriter is a symbol used to represent her writing and her poetry, poetry became her outlet to express her struggles with depression “the forty-eight keys of the type writer each an eye ball that is never shut” (line 6-7). This is an expression, meaning Sexton is very passionate about her work and stays up late working tirelessly on her writing. The next symbol is an ash tray, “ash trays to cry into” (line 4). This could imply that Sexton

Apart from that, the poem consists of a series of turns that reflect different parts of the speaker’s feelings and the experiences he had. The significance of these turns is made possible through the use of stanza breaks. For example, the first

Weigl has dug deep into his recollection of the war to produce work that can be thought of as artistically beautiful. It’s his aim to find the means, despite everything he’s endured, to transcend misery in his poetry. This is done on purpose and allows Weigl to employ a style in his poetry that’s dependent on the sound of words, to express an image so openly that the verses depict a genuine emotion that doesn’t pose as an insult to readers. Underneath the rubble of his misfortune there is a level of integrity on display that readers can appreciate. Weigl likes to view the world objectively and so does his poetry in a very responsible and accountable manner.

Symbolisation is also used to counteract the miserable life of an Australian housewife. This can be seen in the line “She practises a fugue, though it can matter to no one now if she plays well or not, (stanza one, line one).” This line suggests that the woman portrayed is a musician. The poem latter reads, “Once she played for Rubinstein, who yawned,” (stanza one, line nine). This suggests she was talented enough to present to Rubenstein but didn’t succeed. “The children caper, round a sprung mousetrap where a mouse lies dead.” This line symbolizes the housewife. Her dreams of becoming a musician are trapped within her own environment. This same line can also evaluate the difficulties and harshness of the urban Australian life. Seeming sad this is something that is exciting to the children.

In “September, 1918”, Amy Lowell shows her readers an interesting and illuminating poem. That war can be an ugly time and the people that experience it often seems to live in a “broken world” (19). To fight an evil, sometimes war is needed, nonetheless it is still costly to the people living through the war. Some in a literal sense, like soldiers fighting in a war, while some in a physical sense by the world that they now see and live in. I find the poem truly interesting though, in how the author shows that even in war we can still hold onto hope for more promising days. Lowell portrays a melancholy mood throughout her poem that makes her readers thinking about war but also the hope of it being over.

Although the subject of nightmare is only in two lines of the whole poem, this minor contribution is highly effective for it allows the audience access to the traumatising aftermath of the horrors of war.

Conversely, Pope adopts a colloquial, sing-song-like tone in an effort to inaccurately characterize war as simple and effortless. Her application of the word “laddie” throughout her poem The Call communicates the informal and conversational presentation of the topic, for the word is often used in everyday, casual settings. Such a careful choice of language demonstrates her subtle downplay of the seriousness of war, for choosing to converse in such an informal manner when discussing a subject of this magnitude highlights her intention to equate war to the everyday connotation of her word choice. In addition, it allows her to appeal to her audience on a personal level. Rather than merely posing questions to her audience every other line, Pope chooses to address them personally with the inclusion of “my laddie”. Perhaps this intimate acknowledgment contributed to her poem’s success in persuading men to enlist. Likewise, the entirety of The Call exhibits her deliberate illustration of war as a sport or game, specifically in lines such as, “Who longs to charge and shoot” and “Who’s keen on getting fit” (Pope 11,13). These understated comparisons accentuate her sing-song-like tone, for they are consistently followed by rhetorical questions that challenge a reader’s loyalty and commitment. This rhythm Pope develops in The Call results in a forced steady read, much like that of nursery rhymes. Although indistinct, the rhythmic similarities between nursery rhymes and The Call